Sung in Italian with English supertitles.Īpproximate running time: 2 hours, 35 minutes, including one intermission. Both casts also feature alumni of the prestigious Merola and Adler training programs. Lucic, Kurzak, and Demuro will lead off on Friday evening with Luisotti at the helm. Italian tenor Francesco Demuro and Mexican tenor Arturo Chacón-Cruz alternate as the Duke of Mantua. Serbian baritone Željko Lucic and Italian baritone Marco Vratogna alternate in role of Rigoletto Polish soprano Aleksandra Kurzak and Russian soprano Albina Shagimuratova alternate as Gilda. Rigoletto: An audience favorite for its captivating and heart-wrenching story and catchy music, Rigoletto will have 12 performances, alternating between two world-class casts and two conductors, Nicola Luisotti and Giuseppe Finzi. San Francisco Opera’s charismatic Music Director Nicola Luisotti, a Verdi aficionado, will lead the orchestra while opera and theater director Harry Silverstein returns to direct this San Francisco Opera production with sets designed by Michael Yeargan. San Francisco Opera opens its 90th season this evening with a gala celebration, an elegant ball and Verdi’s romantic opera Rigoletto, from 1851, which recounts the tale of the cursed and crippled jester, Rigoletto, who serves his master, the Duke of Matua, in seducing young women and unwittingly murders his own daughter Gilda, whom he has gone to great means to protect. Željko Lučić (Rigoletto) and Francesco Demuro (The Duke of Mantua). After all, the ever-clever Ponnelle makes Rigoletto and Monterone one and the same person.San Francisco Opera opens its 90th season Friday with Verdi’s “Rigoletto” conducted by Nicola Luisotti. This is a “Rigoletto” in which the jester carries a stick-doll bearing his own likeness and, even more significant, a “Rigoletto” in which the jester can curse himself. This is a “Rigoletto” in which the hunchbacked jester-Ingvar Wixell-gets down on all fours to serve as a humping bed upon which his boss ravishes Monterone’s daughter. This, after all, is a “Rigoletto” in which the humongous Duke-none other than Luciano Pavarotti-stuffs his face, cackles a lot and pops his eyes at great, big Bacchanales.
In the final analysis, however, the settings matter little. A good set designer might have served him better.
It all looks nice, and, for all its historic authenticity, it all looks stilted and patently artificial. He makes picturesque use of Northern Italian Renaissance sites: the Teatro Farnese, the Palazzo Te, the Teatro Olimpico in Sabbioneta. Ponnelle has gone to great pains to film this “Rigoletto” on location.
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